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_ TO BE SOLD FOR THE BENEFIT OF THE 


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Ancient and Modern Prints 
Ctcohings, Cugrabings, New Pork Wiews 
» Sporttrg, and Pabal Prints 


INCLUDING A SELECTION FROM THE PRINTS OF 


Frank D. HMoale 


OF BALTIMORE 
e 


ALSO 


A COLLECTION OF 
PRINTS, PAINTINGS, BOOKS, OBJECTS OF ART 
AND A NEW PIANOLA PIANO 


CONTRIBUTED BY ARTISTS AND OTHERS 


TO BE SOLD ON THE THIRD EVENING 


FOR THE BENEFIT OF THE 


fied ade Committee 


WITH A COLLECTION OF EARLY BELGIAN VIEWS 


TO BE SOLD UNDER THE AUSPICES OF THE 


Museum of French Art 


FOR THE RELIEF OF ov Te 


WOMEN AND ‘CHILDREN OF FRANCE AND, BELGIUM 


TO BE SOLD 


a ee 
— 


j TUESDAY, WEDNESDAY, anp THURSDAY EVENINGS 
FEBRUARY 16, 17, AND 18, 1915 


On Pustic Exuisition From Saturpay, Frpruary 6TH 
| AT ; | 


Zhe Anderson Galleries 


Hietropolttan Art Assoctatton 
Mapison AveNvE AT Fortiztu STREET 
New York 


Conditions of Sale. 


1, All bids to be per Lot as numbered in the Catalogue. 

2. The highest bidder to be the buyer; in all cases of disputed bids 
the lot shall be resold, but the Auctioneer will use his judgment as to 
the good faith of all claims and his decision shall be final. He also re- 
serves the right to reject any fractional or nominal bid which in his 
judgment may delay or injuriously affect the sale. 

3. Buyers to give their names and addresses and to make such cash - 
payments on account as may be required, in default of which the lots 
purchased to be immediately resold. 

4. The lots to be taken away at the buyer’s expense and ‘risk within 
twenty-four hours from the conclusion of the sale, and the remainder of 
the purchase money to be absolutely paid on or before delivery, in de- 
fault of which the Metropolitan Art Association will not be responsible 
if the lot or lots be lost, stolen, damaged, or destroyed, but they will be 
left at the sole risk of the purchaser, and subject to storage charges. 

5. To prevent inaccuracy in delivery, and inconvenience in the settle- 
ment of purchases, no lot will be delivered during the sale. 

6. All lots will be exposed for public exhibition in The Anderson 
Galleries before the date of sale, for examination by intending pur- 
chasers, and the Metropolitan Art Association will not be responsible 
for the correctness of the description, authenticity, genuineness, or for 
any defect or fault in or concerning any lot, and makes no warranty — 
whatever, but will sell each lot exactly as it is, without recourse. 
But upon receiving before the date of sale expert opinion in writing 
that any lot is not as represented, the Metropolitan Art Association will 
use every effort to furnish proof to the contrary, and in’ default of such 
proof the lot will be sold subject to the declaration of the aforesaid 
‘xpert, he being liable to the owner or owners thereof for damage or 
injury occasioned by such declaration. 

7. Terms Cash. Upon failure to comply with the above con- 
ditions any sum deposited as part payment shall be forfeited, and all 
such lots as remain uncleared after twenty-four hours from the con- 
clusion of the sale, will be re-sold by either private or public sale at 
such time as the Metropolitan Art Association shall determine, without 
further notice, and if any deficiency arises from such re-sale it shall be 
made good by the defaulter at this sale together with all the expenses 
incurred thereby. This condition shall be without prejudice to the 
right of the Metropolitan Art Association to enforce the contract with 
the buyer, without such re-sale. ; 

8. Bids. We make no charge for executing orders for our customers 
and use all bids competitively, buying at the lowest price permitted by - 
other bids. . 

9, The Metropolitan Art Association will afford every facility for 
the employment of carriers and packers by the purchasers, but will not 
be responsible for any damage arising from the acts of. such carriers and 
packers. | “ 


Che Anderson Galleries 


METROPOLITAN ART ASSOCIATION, 
MApDISON AVENUE AT FORTIETH STREET, 


TELEPHONE Murray IIILL 7680. New YORK. 
' Priced copy of this Catalogue may be secured for $1.50 


- Ancient and Modern Color Prints, Etchings and Engravings 


New York Views, Sporting and Naval Prints 
FROM VARIOUS PORTFOLIOS AND COLLECTIONS 


INCLUDING A SELECTION FROM THE PRINTS OF 


fraik 2, QMoale 


OF BALTIMORE, MARYLAND 


FIRST SESSION. 
Tuesday Evening, February 16, 1915, at 8:15 o’clock 
LOTS 1-172. 


THOMAS G. APPLETON. 


1. LOVE’S BARRIER. After H. Hardy. 
TRIAL OF PATIENCE. ‘After Hardy, by W. H. Simmons. 


Both Proofs on India signed by painter and en- 
graver. (2) 


OTTO H. BACHER. 


2. GIUDECCA CANAL, VENICE. Unloading a Steamer. 
Etching. Proof on Holland paper. 


3. REGENSBURG. 
Etching. PROOF WITH SIGNED AUTOGRAPH INSCRIP- 
TION. . 4to. , 


J. J. BALECHOU. 


4, SAINTE GENEVIEVE, PATRONE DE PARIS. After 
Vanloo. ; 
Line Engraving. “Representing her as seated in a 
landscape reading. Folio. 


10. 


i BE 


W. W. BARNEY. 
English Eighteenth Century Engraver. 


. THE HAPPY COTTAGERS. After W. Hamilton. 


Stipple engraving in THE ORIGINAL COLORING. Folio, 
full margins and in fine condition. London, 1794. _ 
* Very rare in original condition and coloring. 


FRANCESCO BARTOLOZZI. 


. PORTRAIT OF THE ENGRAVER. After Violet. 


Engraved by Bouilliard. Folio. 1797. 


CHARLES BIRD. 


. LADY WITH A JEWEL ‘CASKET. 


Mezzotint printed in colors. SIGNED PROOF. Guilt 
frame. . : 


EUGENE DE BLAAS. 


. THE PROPOSAL. Signed India Proof; with 


PATIENCE. Signed India Proof mezzotint by Atkinson. (2) 


P. P. BONNEMAIN. 


_ LYHEUREUSE FERMIERE. Original aquatint. 


Printed in brown. Small folio, full margins. 


* Fine impression. A cottager with her children seated 
outside her door. } 


FELIX BRACQUEMOND: 1833-1914. 


ARC EN CIEL (Rainbow). Etching, 1893. 
Charming conception of a Nymph among the reeds 
loosing her scarf which forms the rainbow. There 
are ducks in the reeds, in the drawing of which no 
one has ever excelled Bracquemond. SIGNED PROOF. 


DON QUIXOTE. Etching after Goya. Grotesque. 
Proof on Holland paper. Sm. 4to.. SCARCE. 
4 


or. * 
ae 
Mine 


FRANK BRANGWYN, A.R.A. 
Modern Etcher of the British School. 


12. ST. PETER’S, GENOA, Exterior, during a religious 
ceremony, 


Hand-made paper water-marked ‘‘1912.’’ SrqNep 
PROOF, finely printed. Large folio. 


13. BROWNING’S HOUSE, VENICE. 


SIGNED PROOF PRINTED IN BROWN. Large folio. Con- 
sidered one of the best prints of the artist. 


14. CANNON STREET STATION, 
SIGNED PROOF of a very large and powerful etching. 


f J. G. BROWN. 


Noted American Genre Painter. 


15. “‘WANT A SHINE?’’ 


Etching by C. G. Walker. Remarque proof on parch- 
ment signed by artist and etcher. Folio. 


A. BRUNET-DEBAINES. 


16. WAY TO THE MILL. Painter etching. 
Signed proof on parchment. Sm. folio. 


FELIX BUHOT. 


Well-known French Etcher, whose death has just occurred. 


17. ENVIRONS DE GRAVESENDE. 


Souvenir de la Tamise. Fine impression on plate 
paper. Scarce. 


18. LE 20 MARS AU PALAIS DES CHAMPS ELYSEES. 
Etching. Lettered impression... Small folio, framed. 


MADAME CALVE, ETC. 


19. MADAME CALVE.AS CARMEN. After Chartran. 
Dante. From the bronze bust in the Naples Museum. 
Huntine Scene. Etching by Rodriguez. Signed proof. 
A Bit OF THE ApIRONDACKS. Photograph. 

Four pieces. Framed. 
5 


20. 


21. 


22. 


23. 


24. 


25. 


26. 


27. 


28. 


29. 


COLOR PRINTS. 


SUTHERLAND (T.). His Majesty George IV. orn 
Carlton Palace. 


Aquatint in colors. Published by McLean, 1824. On 
Card, and with a small repair, ORIGINAL IMPRESSION 
AND COLORING. 


A BAND OF SAVOYARDS. Lond.: Dickinson, 1785. 
Stipple engraving in brown by CHAS. KNIGHT AFTER 
H. Bunsury. Original impression, lateral and top 
margins cut away. Folfo. 

A BOY OF GLAMORGANSHIRE. (As a shepherd.) 
Stipple engraving by Ryder after Westall, printed ~ 
in colors. Circular print in square engraved frame. 
Sm. 4to. Lond. 1788. Framed. 

THE AGE OF INNOCENCE. After Reynolds. 


Stipple engraving by J. Grozer, pe in colors. 
Small folio, London, 1794. 


* Charming original impression after the well-known picture. 


LADY CATHERINE HOWARD. After C. Wilkin. 
Half-length, seated in a landscape. Stipple engrav- 
ing printed in colors. 3 


IN .A CAFE CHANTANT. Etching printed in colors 
[by Aug. Delatre]. 
SIGNED PROOF marked ‘‘only 30 issued.”’ 


HARMONY BEFORE MATRIMONY. In colors. 


Original etching by JAMES GILRAY. Inlaid. Lond. 
1805. 


TWO PENNY WHIST. In colors. 
Etching by JAMEs GintrAy from life. Lond. 1796. 


GEN. WASHINGTON’S CARRIAGE. With text. 
LitHoGRAPH IN coLors by J. H. Daniels. 1872. 


M. CORMACK. 


MISS FARREN. After Lawrence. 


Full length in a landscape. SiagNep Inp1A PROOF. | 
Folio. . 


6 


30. 
31. 
32. 
33. 
34. 


35. 


36. 


37. 


38. 


39. 


40. 


‘CAMILLE COROT. 


OLD OAK, LAKE COMO. Etching by Desbrosses. 


Remarque parchment proof signed by Desbrosses. 
Folio. 


LANDSCAPE WITH CANAL AND COTTAGES. 
Kitching. 
By L. Gautier. Signed proof on vellum paper. 
LANDSCAPE WITH COTTAGE. Etching. 
By L. Gautier. Signed proof on vellum paper. 


e 


SAMUEL COUSINS, 1801-1887. 


COUNTESS OF BLESSINGTON. W.19. 1887. 
After Lawrence. Mezzotint, OPEN LETTER PROOF. 


HLIZABETH COUNTESS GROSVENOR. W.77. 1844. 
Mezzotint after Lawrence. OPEN LETTER PROOF. 


LADY LYNDHURST. W.104. 18386. 
Mezzotint after Lawrence. OPEN LETTER PROOF. 


SAMUEL COUSINS AND WM. WALKER. 


ROBERT BURNS. After Alex Nasmyth. Whitman 31. 
Bust in oval. Mezzotint. Folio. 


* Proor of a Print considered to be Cousins’ best work. 
Nasmyth characterized it as a better likeness than his paint- 
ing. 


CHARLES FRANCOIS DAUBIGNY. 


LES VENDANGES (A CHAMPLAY). 


Painter Etching. India proof from the John T. 
Wilson Collection. 


COMMENT NAISSENT. LES VILLUES. Rare early 


Etching by Daubigny, 1840, with Remarque. 12mo. 


VUE PRISE AUX ENVIRONS DE SUBIACO. Rare 
early Etching by Daubingy, 1840. 8vo. India 
Proof. 


JEAN DAULLE. | 


LA VANDANGEUSE. After F. Boucher. 
French 18th Century engraving. Oval, margins, has 
been folded. 
7 


41. 


43. 


44, 


45. 


46. 


47. 


48, 
49. 
50. 
51. 
52. 
53. 


L. P. DEBUCOURT. 


JOUI TENDRE MERE. Original aquatint. 
A mother who has placed her son out pays him a 
visit. Printed in brown. Folio, ORIGINAL IMPRES- 
SION WITH LARGE MARGINS. : 


. SKATING SCENE. WINTER. 


With skaters and sleigh, cottages in the background. 


AQUATINT PRINTED IN COLORS. Fine original impres- 
sion with margins. Small folio. 


A. A. DELAUNEY. 


CHARTRES: SHOWING THE CATHEDRAL. 
Etching, 1880. Large folio. INpIA PROOF. 


EDOUARD DETAILLE. 
Noted French Military Painter. 


MARCH OF A REGIMENT THROUGH PARIS: 
WINTER. 


SIGNED InpIA PROOF. Folio, unframed. 


W. DICKINSON. 


JOHN MUDGE, M.D. After Reynolds. 
Mezzotint portrait. Folio. 


“HERBERT DICKSEE. 


PEACE (Lioness and cubs drinking). 


Painter etching. SigNED PARCHMENT PROOF. Folio. 


THE PARTING WAYS: Twilight, 


Painter etching. SIGNED PARCHMENT PROOF. Large 
foho. 


THE LITTLE GYPSY. On Japan paper. 
ROUSED.. Lion and. mate. Folio. 

HIS MAJESTY. Lion’s head, life size. 
LUCKY DOG. Japan vellum proof. 
ANXIOUS HEARTS. (Lady with dog.) 


HAPPY MOTHER< Des and seven ‘puppies. 
8 


R. DODD. 
54. BATTLE OF THE NILE. 


Painted and engraved by R. Dodd. IN THE ORIGINAL 
COLORING. Oblong folio. London, 1799. 


* Very rare in colors. 


DUTHE after W. HAMILTON. 
oo. LES AGREMENTS DE L’HIVER. 
Two youthful couples. Stipple engraving, folio. 


ALBRECHT DURER. 
56. ADAM AND EVE. B. 1. 


Old impression, but has been torn down the centre, 
skillfully repaired, mounted and cut close. 


RICHARD EARLOM. 


o7. A FISH MARKET. After Snyders and Long John. 
Mezzotint. Folio. London. 1782. | 


ALFRED EAST. 


58. LANDSCAPE. Effect of Night. 
Rare drypoint by the painter. Signed and stamped. 


G. EDELINCK, 1610-1707. 
59. COMBAT DES QUATRES CAVALIERS. After Leo- 
nardo. 


Known as “‘The Fight for the Standard.’’ Line én- 
graving, oblong folio. 


S, ARLENT EDWARDS. 
Contemporary engraver and color printer. His plates have all been 
destroyed after a limited edition of prints had been issued. 
60. ANNE OF CLEVES. . After Holbein. B. 58. 


Signed artist’s proof mezzotint printed in colors. 
* A beautiful print and an unusually fine impression. 


61. MARTIN VAN NIEUWENHOVE. After Memling. 
B. 72. 
Also known as ‘‘A Gentleman of Bruges.’’ Signed 
artist’s proof printed in colors. In appropriate 
frame of dull gold. 
9 


62. 


63. 


64. 


65. 


66. 


67. 


68. 


69. 


70. 


fee 


12. 


S. ARLENT EDWARDS—Coxtinued. 


FRANCIS II (Asa Child). After Clouet. B. 69. 
Signed artist’s proof printed in colors. vor fine 
impression. 

A LADY OF BRUGES. After Van Eyck. B. 70. 
Signed artist’s proof printed in colors. 

LADY DUDGEON. After Raeburn. B. 77. 

Mezzotint printed in Colors. SIGNED ARTIST’s PROOF. 

Oak frame. 
BIANCA MARIA SFORZA. After Ambrogia de Predi. 
B,. 78, , 
Mezzotint printed in Colors. SigNep ArTIST’s PRoor. 


JULIA MACDONALD:  Afterclawren eee 


Mezzotint. Printed in Colors. SIGNED PRoor. Sm. 
Ato. 


LUDOVICA TORNABUONI. After Ghirlandaio. B. 21. 
Half-length in profile. From the famous painting 
‘‘The Birth of the Virgin.’’ SIGNED PROOF PRINTED 
IN COLORS. ea 

SIMONETTA VESPUCCI. After Pollajuolo. - 

The celebrated youthful Mistress of Julian de Medici. 
SIGNED ARTIST’s PROOF PRINTED IN coLORS. In 
appropriate dull gilt frame. 


J. EDY. 


DURHAM ABBEY. After Fisher. 
Open letter proof. 1798. 


ETCHINGS. 


THE PLOUGHMAN, by J. W. Beatty. Signed Proof. 

LANpscaPe, by J. Murray. Signed Proof on parchment. 

W. E. Guapstons, by Henri Renault. Signed Proof. | 
Folio. Three pieces. 


HEDLEY FITTON. 


CHURCH OF THE THREE KINGS; S. EMILION,: 
GUYENNE. _D. 32. 
SiaNep Artist’s Proor. A. beautiful etching of a 
13th century French church. 


RUE ST. ROMAIN, ROUEN. No.2. Not in Dunthorne. 
SIGNED PROOF. Folio. - 
* Showing the Archbishop’s Palace where the death-warrant 
of Joan of Are was signed. Well printed and considered one 
of the best of the Fitton etchings. 


10 


73. 
74. 


15. 


76. 


77. 


78. 


Kee 


HEDLEY FITTON—Coxtinued. 


RUE BARBETTE, PARIS. D: 26. 
SIGNED ARTIST’S Proor. Folio, 1909. 


S. HILAIRE, POITIERS. D. 33. 
SIGNED ARTIST’s PrRoor. Folio, 1910. 


Ss. BARTHOLOMEW THE GREAT, SMITHFIELD. 
D. 24. 
The Smithfield Gateway. SigNep Artist’s Proor. 
Small folio, 1909. 


* The gateway in front of which the martyrs were burned. 


CAMILLE FONCE. 


CATHEDRAL INTERIOR. 


REMARQUE PROOF ON PARCHMENT SIGNED BY THE 
ARTIST. Large folio, unframed. 


LITCHFIELD. With the Cathedral seen across the 
River. 
Effect of Moonlight. SIGNED REMARQUE PROOF ON 
PARCHMENT, corner folded. Folio. 


A NORMAN HAMLET. 
SIGNED REMARQUE PROOF ON PARCHMENT. 


FRENCH AND INDIAN WAR. 


THE TAKING OF HAVANNAH BY THE BRITISH 
(IN 1762) UNDER KEPPEL, POCOCKE AND 
BARKER. CoMPLETE SET OF THE TWELVE FOLIO 
ENGRAVINGS BY CANOT AND MASON AFTER SERRES. 
LARGE OBLONG FOLIO. FINE ORIGINAL IMPRESSIONS. 
Two plates are a little rubbed in the centre fold. _ 
(12) | 
* Accompanying the plates is the original descriptive pamph- 

let of four folio pages. The series forms a magnificent set 
of naval pictures and is extremely rare in this complete shape. 
The plates are as follows: I. The Van of the Fleet in the 
Straits of Bahama; II. The Rear of the Fleet and the Trans- 
ports with the soldiers; III. The Alarm engaging and captur- 
ing two Spanish frigates in sight of the fleet; IV. Landing 
of troops on the Cuban coast near Havana; V. Troops march- 
ing along the shore and a ship attacking a Spanish fort; VI. 
Bombardment and capture of the Fort of Choera; VII. Land- 
ing guns for the troops and in the distance bombardment of 
Moro Castle; VIII. View of Moro Castle from the sea with 
the ships bombarding it; IX. Troops storming Moro Castle 
through the breach; X. The attack on the City of Havana; 
XI. General view of the entrance to the harbor with troops 
in possession of Moro Castle and others landing to occupy the 
city; XII. View from the sea of Havana, the fleet entering the 
harbor. 


Le 


80. 


aie 


82. 


84. 


85. 


86. 


87. 


88. 


LUCIEN GAUTIER. 


VENICE; THE GRAND CANAL. 
‘La Salute’’ on the right. Etching. FINE REMARQUE 
PROOF ON PARCHMENT SIGNED BY THE ARTIST. Oblong 
folio. 

NOTRE DAME, PARIS. Etching. 
Signed proof on vellum paper. Sm. folio. 


ERNEST GEORGE. 
English Architect. 


ETCHINGS IN BELGIUM. 1878. Etchings of Antwerp, 
Brussels, Bruges, Huy, Inége, Malines, Tournai 
and Ypres. 8vo. (138 pieces.) 


J. L. GEROME. 


. THE EGYPTIAN SMOKER. Proof (unmounted) on 


India paper. 8vo. Scarce. 
JEUNES GRECS A LA MOSQUE. Etched by Rajon. 


L’ AMEE: etched by C. L. Courtry. 
BotH ARE FINE CHINA PROOFS. (2) 


GIORGIO GHISI: Of Mantua, 1520-1582. 


THE ANGELS OF THE SISTINE CHAPEL. 


In the Vatican, after Michael Angelo. Set of six 
with the address of Nic. Van Aelst. Folio. (6) 


* From the Robt. W. Weir collection with his stamp. Jere- 
miah, Joel, a sibyl, prophet, ete. 


W. GILIER. ., 
LADY PEEL. Mezzotint after a 1836. 


H. T. GREENHEAD. 
Contemporary «English -Mezzotint Engraver. 


MARGOT (Young Girl). After Morland. - 
Full bust in oval, wearing large hat. Signed artist’s 
proof mezzotint printed i in colors. Folio, Lond. 1911. 
PEGGY. After Morland.. Companion piece. 
Signed artist’s proof printed in colors. 
12 


MISS E. GULLAND. 


Contemporary Mezzotint Engraver in colors whose work is considered 


ehh 


90. 


Hale 


92. 


93. 


94, 


96. 


at: 


among the best. 


THE AGE OF INNOCENCE, After Reynolds. 


Signed artist’s proof printed in colors. Folio. 
London, 1913. 


SIR F. SEYMOUR HADEN. 


KENSINGTON GARDENS. The large plate. H. 28. 
Etching with some added drypoint touches. SIGNED 
PROOF AND A FINE IMPRESSION OF ONE OF THE MOST 
DESIRABLE HADEN PRINTS. Framed. 

EGHAM LOCK. HS" 16. 


Etching. SIGNED PROOF OF THE SECOND STATE. 
** Karly wmpressions in this state have the remains of 
the sky stall viseble.’’—Harrington. 


HARLECH. The second plate. H. 212. 


Mezzotint and etching. SIGNED PROOF with the etched 
wording ‘‘Drawn, Etched, Engraved and Printed by 
Francis Seymour Haden, May 11, 1880.”’ 


KILGAREN CASTLE. H. 65. 1864. 
First and only state from the Haden collection with 
his monogram stamp (stamped autograph on. re- 
verse). 

NEWCASTLE IN EMLYN. H. 62. ee 


With the square house on the Hill. Fine impression. 


_A BRIG AT ANCHOR. H. 147. SigNED PROOF. 


‘* Actually etched from nature by moonlight.’’—Har- 
rington. Good impression with untrimmed margins. 


COWDRAY CASTLE AND GEESE. Etching. 8vo. 


AXEL HERMANN HAIG. 


SAINT MARK’S, VENICE. 
SIGNED PROOF. Large. Qbiege folio, in handsome gold 
frame. 


* One of the largest and most important works of this 
noted etcher. MAGNIFICENT IMPRESSION. 


13 


98. 


AXEL HERMANN HAIG —Coxtinued. 


AMIENS CATHEDRAL: Interior. 


SIGNED ARTIST’S PROOF. Large folio, in handsome 
gold frame.. . 

* SCARCE, one of Haig’s most picturesque etchings. The 
artist was so struck with the beauty of ‘the interior of this 
cathedral that he published a pamphlet relating to it at the 
time of doing this etching. 


99. SANTIAGO CATHEDRAL: Interior. 


100. 


101. 


102. 


103. 


104. 


105. 
106. 
107. 


108. 


109. 


SIGNED ARTIST’S PROOF. Large folio, unframed. 


BURGOS CATHEDRAL, South Aisle looking west. 
SIGNED ARTIST’s PROOF. Large folio, unframed. 


TARRAGONA CATHEDRAL: Interior. 


SIGNED ARTIST’S PROOF ON JAPAN PAPER. Folio, in — 
handsome gold frame. 


* A searce etching by the artist of one of the most beautiful 
and oldest cathedrals in Spain. 


PALENCIA CATHEDRAL: Interior. 


Etching, 1895. SigNED PROOF ON JAPAN PAPER. 
Oblong folio, in handsome gilt frame. 


MADONNA WITH THE MUSKET. St. Mark’s, Venice. 
AIO. 


SIGNED PROOF. Small folio. 


* This and the three following prints form a set of the etch- 
ings showing the Chapels of St. Mark’s Cathedral. 


CHAPEL OF THE HOLY SACRAMENT. A: 134. 
SIGNED PROOF. Small oblong folio. 
THE BAPTISTERY. A. 136. SIGNED PROOF. 
CHAPEL OF ST. CLEMENTS. A.135. Signed proof. 
THE ALCAZAR, SEGOVIA. 
Signed proof. Large folio. 


ENTRANCE, MOSQUE MOHAMMED BEY. 
In Cairo. Signed proof. Folio. 


W. HAMILTON. 


THE SHEPHERDESS URANIA. 


Engraved by De Fresville. Oval sm. 4to, with verse. 
Paris, about 1780. Untrimmed margins. 


14 


110. 


111. 


LA: 
113. 


114. 


115. 
116. 


1a 


118. 


CHARLES HARDY. 


BOY WITH CABBAGE NETS. After Reynolds. 


Mezzotint, small folio, margins, 1806. 
* Open letter proof. 


R. HAVELL. 


BUCKINGHAM HOUSE, MIDDLESEX: A Palace of 
Her Majesty. 
Aquatint drawn by J. Burnet. Small folio. Effect 
of winter. London, 1817, full margins. 
* PRINTED IN COLORS. 


ALBANY E. HOWARTH. 
Contemporary Etcher. 


A VENETIAN CALLE. Signed artist’s Proof. 


FROM THE PONTE TEATRO. 


Signed artist’s proof, beautifully printed to show the 
effect of light on buildings and water. : 


PONTE DELLA GUGLIE: Effect of night. 
SIGNED ARTIST’S PROOF. 
FRUIT STALL. Signed proof clearly printed. 


VERONA. Showing the arched stone bridge. 


SIGNED ARTIST’s PRroor, of one of the artist’s best 
prints. 


STIRLING CASTLE. Signed and named proof. 
One of 50 signed proofs and the plate destroyed. 


VENETIAN WELL HEAD. Etching, 1913. 
SIGNED Proor printed on the fly-leaf of an old book. 


JOHN BAPTIST JACKSON: 1701-1780. 


English wood engraver who revived the art of engraving in colors or 


ALD: 


120. 


‘¢ chiaroseuro.’’ 


PORTRAIT OF ALGERNON SYDNEY. After Verus. 
The only portrait done in chiaroscuro by Jackson. 
In four colors. 

LAZARUS AT THE RICH MAN’S TABLE. 
And another. Two wood engravings in Chiaroscuro. 


(2) 


15 


121. 


122. 


123. 


124. 


125. 


126. 


ip 


128. 


CHARLES JACQUE. 


L’ABREUVOIR AUX MOUTONS. Drypoint. 


Proof on Holland paper. Only 200 printed and the 
plate destroyed. Collector’s stamp. 4to. 1878. 


JULES JACQUEMART. 

CHINESE VASE IN CLOISONNE ENAMEL. Etech- 
ing. | 
Proof of the first State before the title. Sm. 4to. 
MAASLINS (HOLLAND). India Proof of the above. 


J. B. JONGKIND. 


MAASLINS (HOLLAND). Etching 1862. 


Unusually good impression with untrimmed margins. 
Maaslins is noted at present for its kindly reception 
of Belgian refugees. 


RICHARD JOSEY. 


MARGARET. Half.length, after Hoppner. 
One of 200 signed proofs on India paper. 


CHARLES KNIGHT. 


THE TIRED SOLDIER. 
Stipple engraving after Opie. Large folio, open let- 
ter proof. 


L. KRATKE. 


THE SHOWER. Painter etching. 
Signed remarque proof on pEreaeae 4to. 


A. F, LAGUILLERMIE. 


LADY HAMILTON AS MUSIDORA. After Galne: 
borough. 19; 
One of 150 artist’s proofs on Fi apan paper. Folio. 


* The only portrait of Lady. Hamilton by Gainsborough, 
and a charming conception of. the lovers in sor aad Sea- 
sons. pone ae we. : 


16 


129. 


130. 


131. 


132. 
133. 


134. 


135. 


136. 
137. 


138. 


139. 


MAXIME LALANNE. 


RICHMOND ON THE THAMES. Etching. 
Proof on Holland paper. 4to. 


P. LAMBERT (The Younger). 


LA FILEUSE. After Lambert Ainé. 
Charming eighteenth century French stipple engrav- 
ing. 4to. A young girl spinning. 

LA MARCHANDE D’HUITRES (The Oyster Girl). 
Stipple engraving by LePage after Lambert. 4to. 


AUGUST LE GRAND. 


LES REMONSTRANCES DU CURE. 

Stipple engraving after Delaunai. Folio. 
LA BERGERE DES ALPES. 

Line engraving after Gandat. Large folio, margins. 
LE MARCHAND D’OPIAT. 


Stipple engraving after Gerard Dow. Folio, full 
margins. | 


ALPHONSE LEGROS. 


LES VAGABONDS DE MONTROUGE. Etching. B. 71. 
Proof on Holland paper. Small folio. 


PEASANTS IN CHURCH. Holland proof. Sm. 4to. 


PORTRAIT OF J. DALOU, SCULPTOR. B. 41. 
Fine impression of the second plate. Sm. 4to. 
VOYAGEUR SURPRIS PAR L’ORAGE (The Way- 
narer).) 6°226. 
Fine proof on Japan paper. Small folio. 


SIR FREDERICK LEIGHTON. 
President of the Royal Academy. 
THE VESTAL VIRGIN. 


Full bust wrapped in a vail. Mezzotint by John D. 
Miller. ARTIST’S PROOF SIGNED BY PAINTER AND EN- 
GRAVER. On India paper. Large folio. Handsome 
cilt frame. 


17 


140. 


141. 


142. 


143. 


144, 


145. 


146. 


1a. 


148, 


NOEL LE MIRE AND L. PERROT. 


L’AFRIQUE. Head of a young negro girl. 


Wearing a turban and a coral necklace and ear-rings. 
Stipple engraving in cotors. Folio. Cirea 1810. 
* Original impression and coloring. 


L’AFRIQUE. The same but not in colors. 


L. 8S. LEMPEREUR. 


LE FESTIN ESPAGNOL. After Palamedes. 
Line engraving. Folio. 


W. LENEY. 


SCENE FROM AS YOU LIKE IT. After Smirke. 


Stipple engraving. IN THE ORIGINAL COLORING. 
Folio. London, 1801. 


* Very rare in colors, 


F. LIGNON AND OTHERS. 


LA VIERGE AUX CERISES. After Douven. 


Together with Deux Nimphes Dansant, by Petit; La 
Mariée, by Girard; Paris and Oenone, by Ribault; 
ete. Folio. (6) 


ABRAHAM LINCOLN. 


BUST PORTRAIT. Engraved by W. E. Marshall. 
CoLtumBus. Etched by H. Lefort. India proof. 
ey 


S. LOPISGICH. 


THE OLD MILL. Painter etching. 
Signed remarque parchment proof. 4to. 


ALFRED LUCAS. 


THE SMITHY. Mezzotint after J. F. Herring. 
_ Open letter proof on India. Large folio. 
THE MARKET MORNING. After Herring. 
Open letter proof on India. Large folio. 
18 


149, 


150. 


151. 


152. 


153. 


154. 


155. 


156. 


157. 


ERNEST LUMSDEN. 


Contemporary Etcher whose work’ is in demand. 


DARIEN, 8S. M. R. TERMINUS. Etching. 
PRINTED AND SIGNED BY THE ARTIST. 


INDIAN RESERVE, VICTORIA, B. C. Effect of 
snow. 


ETCHING BEAUTIFULLY PRINTED AND SIGNED BY THE 
ARTIST. 


THE PIER. Etching. 
Printed on soft old toned Japan paper. Scarce. 


ALTAR OF HEAVEN. Chinese landscape. 
Etching PRINTED AND SIGNED BY THE ARTIST. 


EDWARD McINNES. 


THE DEW BRANCH [Lady Leicester]. 1841. 
Full length on clouds. Mezzotint after Lawrence. 


D. SHAW MACLAUGHLAN. 


LOW TIDE (ON THE THAMES). Etching. 
Showing bridges and shipping. SIGNED PROOF. 


L. MARIAGE. 
Eighteenth Century French Engraver. 
GANIMEDE. After Charpentier. 
Stipple engraving PRINTED IN coLors. Folio. 


F. MARRIOTT. 


THE ARCHWAY AT AMBOISE. Mezzotint. 


SIGNED PROOF PRINTED IN couors. Effect of night 
with street lamp and moonlight. | 


W. MARTIAL. 


RETURN OF THE FISHERWOMEN.: 
Etching. ARTIST’S SIGNED PROOF WITH REMARQUE. 
Folio, unframed. In the foreground one of the three 
figures is a portrait of Patti. 
19 


158. 


159. 
160. 


161. 


162. 


163. 


164. 


165. 


MASQUELIER AND OTHERS. 


VUE PRES DE STERTZINGEN. After Dietricy. 


Together with ‘‘Le Bon Laboreur’’ by Maillet; 
‘‘May and December,’’ mezzotint by W. H. Sim- 
mons; ‘‘Le Paysan Civil,’’ by Leisel after Teniers 
(damaged); ete. (7) 


J. L. E. MEISSONIER. 
THE GUITAR PLAYER. Etching by A. Gilbert. 
SIGNED REMARQUE PROOF ON PARCHMENT.’ 4to. 


MONSIEUR ANNIBALE. Etching by L. H. Soterlet. 
SIGNED REMARQUE PROOF ON PARCHMENT. 4to. 


THE KISS. Etching by L. Henry Soterlet. 
SIGNED REMARQUE PROOF ON PARCHMENT. 4to. 


J. MERIGOT. 


VIEW OF THE TOWN AND HARBOR OF MONTE 
VIDEO. 


AQUATINT PRINTED IN coLoRs. Oblong folio. Lond. 
(1807). 


CHARLES MERYON. 


TOURELLE RUE DE L’ECOLE DE MEDECINE. 


Etching from the ‘‘Gazette des Beaux Arts.’’ Sm. 
4to. 


SIR J. E. MILLAIS. 
BABY ’S BETTER. Mezzotint by Geo. Every. 
India proof signed by painter and engraver. 


MARRIAGE OF THE viRGIN. After Raphael. 


India proof, so marked and signed by R. Stang the 
engraver. Folio. (2) 


J. F. MILLET, 


FIRST STEPS. Peasants in the garden. 
Parchment proof by Gustave Greux, 1883. Limited 
issue. 
20 


166. 


167. 


168. 


169. 


170. 


vee 


172. 


MIXELLE LE JEUNE. 


PAUL ET VIRGINIE. After Lampert. 


Aquatint PRINTED IN coLors. Folio, tear in lower 
margin. 


THOMAS MORAN. 


EVENING LANDSCAPE WITH CATTLE. 


A storm approaching. SIGNED ARTIST’S PROOF ON 
PARCHMENT WITH TWO REMARQUES. Large oblong 
folio, unframed. 


ACHILLE MOREAU. 


INDUSTRIE AMERICAINE. 
Aquatint drawn by Wexelberg. 4to, about 1800. 
* Showing ships landing goods on an American coast. 
LES FANDANGOS OU PLAISIR ESPAGNOL. 


After Wexelberg. With Le Brigand en Ambuscade, 
by Jazet. Both aquatints. Small folio. (2) 


GEORGE MORLAND. 


BOYS BATHING: GARCONS BAIGNANT. 
Engraved in stipple by E. Scott. IN THE ORIGINAL 
COLORING. Folio, full margins. London, 1802. 

* VERY RARE WHEN PRINTED IN COLORS. 


BOYS SKATING: GARCONS PATINANT. 


Engraved in stipple by E. Scott. Folio, full margins. 
Lond. 1802. 


* IN THE ORIGINAL COLORING, Companion to the preceding. 


BOYS SKATING: GARCONS PATINANT. 
Engraved in stipple by Bartolotti. Folio, full 
margins. 


* The same print as the preceding, but reversed and not in 
colors. 


/ 


SECOND SESSION. 


Wednesday Evening, February 17, 1915, at 8:15 o’clock 


LOTS 173-342. 


Rare American Naval Engravings, New York Views, Sporting 
Prints and proofs of Sydney Wilson, Trowbridge and Zorn 


173. 


174. 


175. 
176. 


177. 


178. 
179; 


180. 


WILLIAM S. MOUNT. 
American Painter. 
COMING TO THE POINT. 


. American farmers in a trade. Lithograph by Teis- 
sier. Inpia prooF. Folio. 1855. 


HERMAN MULLER. 


Sixteenth Century Engraver. 


THE RAISING OF LAZARUS. After A. Blommaert. 
The Adoration of the Shepherds by J. Sadler. (2) 


NAPOLEON I. 
BUONAPARTEH. Bust in stipple by Schiavonetti. 
GENERAL BUONAPARTE. English etching by S. W. 
Fores, 1797. 


NAPOLEON. Profile bust in medallion surrounded by 
| Insignia. Fine and rare. 


N. (With crown of stars). Half length stipple by Henry. 
NAPOLEON. Busts by Laugier and Harland (after 
Appiani). 2 pieces. , 


DUC DE REICHSTADT: As a ehild. 
Engraved by Mecou after Isabey. 4to. 


* Fine proof with Isabey’s stamp. 
22 


NAVAL ENGRAVINGS. 


181. U. S. FRIGATE UNITED STATES, STEPHEN 
DECATUR, COMMANDER, CAPTURING HIS 
BRITANNIC MAJESTY’S FRIGATE MACE- 


DONIAN. 
Engraved by S. Seymour. Painted by T. Birch. 
Folio. 

* Fine impression with margins of this rare American en- 
graving. 

182. U. 8S. FRIGATE ‘“‘CONSTITUTION,”’ ISAAC HULL, 
COMMANDER, CAPTURING .. . . “‘THE 
GUERRIERE.”’’ : 

Engraved by C. Tiebout. Painted by T. Birch. 
Folio. 


* With the exception of a light water-stain equal in quality 
’ to the preceding and with margins. 


BATTLE BETWEEN THE CHESAPEAKE AND THE 
SHANNON. 


188. VIEW OF THE COMMENCEMENT OF THE 
ACTION. 
Aquatint in colors. Engraved by J. Jeakes. Painted 
by J. T. Lee. There is a repair in the sky, the lower 
margin containing the title and inscription is dam- 
aged and has been replaced. Framed. 
* Very Rare. 


BATTLE OF LAKE ERIE. 


184. (FIRST VIEW: THE OPENING OF THE BATTLE.) 
Engraved by Murray, Draper, Fairman and Co. 
Drawn by Sully and Kearny. Line engraving. On 
eard. Folio. Published July 26, 1815. 
* VerRY RARE... This and the following are both the First 


State before the alteration in the address and before the 
erasing of the dedication. 


185. SECOND VIEW. 


The end of the Battle. Etched by C. Tiebout and 
engraved by C. Murray. Drawn by Sully and Kearny. 
Folio. On card. Published July 26, 1815. 


23 


COMBAT BETWEEN CAPTS. PAUL JONES AND 
PEARSON. 


186. COMBAT MEMORABLE entre le Pearson and Paul 
Jones doné le 22 Tbre 1779. Le capitaine Pearson 
comendant le SERAPIS et Paul Jones Le Bon Homme 
RicHART et son Escadre. Early engraving in colors 
by B. F. Loizel after Richard Paton. Small folio, 
margins, Augsbourg, n. d. 

* Very Rare. 


U. S. BRIG OF WAR “SOMERS.” 


187. LITHOGRAPH VIEW IN COLORS BY N. CURRIER 
(1843). to. 


Made at the time the Brig was commanded by Alex. 
Slidell Mackenzie and on which the mutiny occurred 
that resulted in the hanging of a midshipman and 
two others. 


188. U. §. STEAM FRIGATE “MISSISSIPPI” IN A 
TYPHOON. Oct.7, 1854. 


Lithograph by F. Brown after W. Heine. Published 
by Britton and Rey, San Francisco, 1854. Folio, 
time-stained. Very Scarce. 


NEW YORK VIEWS. 


189. PANORAMIC VIEW OF YONKERS. 


Showing the whole of Yonkers and the Palisades on 
the right bank of the river. Rare early lithograph in 
brown. Oblong folio. | 


190. ALBUM OF MAPS & VIEWS OF NEW YORK. ~ 
With special pen-drawn title-page ‘‘Ancient & 
Modern Views, Plans, Maps, &c., of the City and 
County of New York executed in G. Hayward’s 
Lithographic Institute. Compiled by C. Nolte, 
1861.’’ Folio, leather back, some pages cut out. 


* 355 views, plans, maps, and facsimiles mainly lithographs 
for Valentine’s Manuals. Many are in proof state in excep- 
tionally fine condition, and nearly all in colors, INCLUDING 
SOME RARE UNDIVIDED PLATES FROM THE EARLY MANUALS, 
1855-60. There are a number of Brooklyn Views done for 
McCloskey’s Manual. 


24 


eS 


Le 


192. 


193. 


194. 


195. 


196. 


At. 


NEW YORK VIEWS—Coxtinued. 


CASTLE GARDEN: ORIGINAL DRAWING BY G. 
HEYWARD. 
India Ink drawing, signed with initials. The upper 
part of the trees in pencil. 9x13 inches. 


* Showing Castle Garden at the time Jenny Lind gave her 
first concert, about 1852, connected by a bridge witli the 


mainland. 

SEVENTEEN ORIGINAL SEPIA DRAWINGS BY 

G. HEYWARD. 

Some signed or initialled, including ‘‘Bath House, 
Bath Beach,’’ in 1846; D. T. Valentine’s house, 
1860; R.R. Depot, Tremont (3 views, one signed and 
finished), 1846; Two Sepia drawings of Knapp’s 
Dock, Stamford, one carefully finished; Central 
Park, N. Y., 1861 (2); Residence of T. Cromwell, 
L. I. Sound, and T. Davids, New Rochelle; Hunting- 
ton Place School, ete. 


TRINITY CHURCH, NEW YORK. 
Drawn on stone by John Forsyth & F. W. Mimee. 
Rich’d Upjohn, Esq., Arch’t. CoLORED LITHOGRAPH. 
Folio. N. Y. 1847. 


* VERY RARE. Not in the Neill or Holden Collection, nor 
at the Loan Exhibition held in 1909. The present edifice 
was consecrated on May 2, 1746. The print shows a Bird’s- 
eye view, with the Church in bold relief against the land- 
scape of the Hudson River and the Jersey coast beyond, with 
the buildings in the immediate vicinity also shown. 


VIEW OF THE NARROWS. FROM STATEN 
ISLAND. 


Lithograph in colors by Chas. Gildemeister. 4to. 
1851. 


CENTRAL PARK. Bird’s-Eye view within border of 
scenes in the Park. 
Lithograph in colors, on the reverse of which is 
Magnus’s facsimile of the Slater map of New York 
in 1728, in colors. Large 4to. 


*Fifth Avenue is mostly vacant lots, there being only 
about half a dozen buildings to 110th St. 


KAATERSKILL FALLS, Catskill Mountains. 
Lithograph in colors by Gildemeister. ‘Sm. folio. 
1851. 

OIL PAINTING OF CASTLE WILLIAM AND THE 

BAY. | 


Showing the Fort, shore line and shipping, unsigned 
and undated but about 1840. Height 11 inches; 
width 14 inches. In old frame. 


20 


198. 


199: 


200. 


201. 


202. 


203. 


204. 


205. 


206. 


D. ORME. 


ATTACK UPON THE FRENCH CAMP NEAR 


VALENCIENNES. 
Stipple engraving after Brown. Folio, 1796. 


SAMUEL PALMER. | 


‘*Palmer’s works becomes for me more abundantly 
satisfying.’’—Hamerton. ¢ 


SUNRISE. Etching. Holland proof, full margins. 


STEPHEN PARISH. 


CARLETON TIDES, BAY OF FUNDY. 
Etching. SIGNED PROOF. Framed. 


JEAN PATRICOT. 
Contemporary French Etcher. 


HEBE: (Duchesse Louise Henriette d’Orleans). 
Etching after Nattier; Patricot’s signed remarque 
proof. eg 


* One of the charming French etchings much sought for. 


JOSEPH PENNELL. 


PEN-AND-INK DRAWING. 
Facade of an ornate Romanesque Church; a market 
scene in front. (France.) Signed. Folio. Framed. 
PEN-AND-INK DRAWING. 


Entrance to a French Church, early Gothic; a 
market scene, with a soldier and people in front. - 
Signed. Folio. Framed. j 


GEORGE HENRY PHILLIPS: b. 1800. 


English Engraver contemporary with Cousins. 


LADY WALLSCOURT: Seated with a guitar. 
Open letter proof mezzotint after Lawrence. 1839. 


MASTER LAMBTON. After Lawrence. 
Open letter proof published in 1839. Mezzotint. 


LADY DOVER AND CHILD. After Lawrence. 
Mezzotint. Fine open letter proof. Lond. 1838. 
26 


GEORGE HENRY PHILLIPS—Continued. 


207. DUCHESS OF SUTHERLAND AND CHILD. After 


Lawrence. 
Mezzotint. An admirable companion piece to the 
preceding. 
208. THE COUNTESS OF WILTON. After Lawrence. 
Mezzotint. Fine open letter proof. Lond. 1838. 


G. B. PIRANESI AND HIS SON FRANCESCO. 


Italian engraver of the edifices of ancient and modern Rome of the 
latter half of the Highteenth Century. 


209. PIAZZA DELLA ROTUNDA: CASCADE OF TIVOLI. 
Two original engravings. Oblong folio. (2) 
* This and the following 5 are original impressions with 
margins, 


210. RUINS OF MAICENAS’ VILLA AT TIVOLI. Folio. 


Mecenas was the patron of literature, the friend of 
Horace and Virgil at whose request the ‘‘Georgics’’ 
were written. 


211. SEPULCHRE OF CECILIUS METELLUS. 

The great conqueror of Jugurtha in Africa. 
212. BASILICA DI SANTA MARIA: Interior. 

Showing the lofty columnar approach to the alter. 
213. RUINS OF A GALLERY IN HADRIAN’S VILDA. 
214. PONTE SOLARIO: TRAJAN’S COLUMN, &c. 


Two original engravings. The latter also shows the 
Church of the Madonna di Loreto. (2) 


CHARLES A. PLATT. 


American Etcher and Architect. 


215. HARTFORD AND THE RIVER. Etching, 1885. 
Signed proof on soft Japan paper. Folio. 


LASLETT J. POTT. 


216. THE DUEL. Signed India proof. 


STOUT HEARTS (Girl and dog), by F. Stacpoole. 
Mezzotint after Barker. Signed India proof. (2) 


27 


217. 


218. 


Zig; 


220. 


221. 


222. 


223. 


JOSEPH B. PRATT. 


Contemporary Mezzotint Engraver. 


LADY LIGONIER. After Gainsborough. 
Mezzotint, full length, leaning on a pedestal, chair 
with bust of achild near. Sianep INDIA PRooF. Folio. 


THE DUEL (Two horses). After Rosa Bonheur. 


India proof signed by Rosa Bonheur and the en- 
graver. Large oblong folio. 


MARY CATHERINE PRESTEL. 


SHEEP AND SHEPHERD. After Rosa di Tivoli. 


Printed in two shades of green in chiaroscuro. Folio. 


* An AQUATINT PRINTED IN GREEN. VERY RARE. Joubert 
states that her work is in demand, and justly so, by all the 
amateurs of Europe. Her work is limited to twenty plates. 


F. M. I. QUEVERDO.. 


DECORATIVE DESIGNS. 


Designs for Friezes, panels, ete., with arabesques and 
mythological figures. Eight (one damaged), mounted 
in two frames. Glass of one frame cracked. (2) 


HERBERT RAILTON. 


WHERE IRVING (SIR HENRY) SLEEPS. 


Etching of Westminster Abbey, interior. Signed 
India proof. Folio. 


MARC ANTONIO RAIMONDI: 1480-1528. 


QUOS EGO [Neptune appeasing the Tempest]. After 
Raphael. 


Within a border of mythos and classical scenes, 
Dido and Atneas, ete. Original impression, but has 
been torn and mounted. 


THE VIRGIN OF THE STAIRS. B. 45. 
Early impression; cut close. 
28, 


224, 


225. 


226. 


227. 


228. 


229. 


230. 


PAUL RAJON. 
Noted Modern French Etcher. 


ROUGET DE L’ISLE DECLAIMING THE MAR- 
SEILLAISE. 
After J. Pils. Etching; scRATCH LETTER PROOF ON 
CHINA PAPER WITH FULL UNTRIMMED MARGINS. 
Oblong folio, unframed. 
THE TOPER. Etching after S. Lucas. 
India proof signed by painter and etcher. 


REMBRANDT: 1606-1660. 


ECCE HOMO; FOURTH STATE. B. 77. D. 83. 


With the words ‘‘Cum privilegio,’’ and uncleaned 
margins. Folio, four holes in the upper part of the 
print have been skillfully repaired, and the print is 
mounted. 


* One of the few large plates of Rembrandt; it has been 
characterized as ‘‘a beautiful print and the most consider- 
able of his work.’’ 


THE NIGHT WATCH. Etching by L. Flameng. 
Small folio, on vellum paper. 


MDLLE. ROLLET AND OTHERS. 


THE BENEVOLENT COTTAGER. 


Stipple after Beattey ; together with ‘‘The Motherly 
Fright,’’ unsigned stipple, 1788 (both creased) ; 
Scene from Merry: Wives, by Simon; Disturbed by 
the Night Mare, rare early American lithograph by 
Imbert; and others. (7 pieces.) 


ROME (VIEWS OP). 


TEMPLES OF VENUS, CONCORD anp ANTONINUS. 


Arches of Janus and Pantani; Fountain of Egeria, 
ete. AQUATINT IN coLoRS. Sm. folio. (9) 


L. RUOTTE. 


THE WEST INDIA WASHERWOMAN. 


Stipple engraving after Brunias. Ato, PRINTED IN 
coors. About —. | 


231. 


232.. 


233. 


234. 


235. 


236. 


237. 


238. 


239. 


240. 


241. 


W. DENDY SADLER. 
Popular contemporary English Artist. 


AN OFFER OF MARRIAGE. 
Etched by A. Mongin. REMARQUE PROOF SIGNED BY 
PAINTER AND ETCHER. ON JAPAN PAPER. Large 
folio, framed. 


THE LOVE LETTER; THE ANSWER. A Pair. 
Etchings by Jules Jacquet. Remarque proofs signed 
by painter and etcher, on Japan vellum. (2) 


PATIENCE. Etching by Ch. H. Boucher. 


Remarque proof signed by both artists. 

THE LANDLORD. Etching by Ch. H. Boucher. 
Remarque proof signed by both artists, on Japan 
paper. 

PARSON AND SQUIRE. Etching by C. O. Murray. 
Remarque proof signed by painter and etcher, on 
Japan paper. 

DISAPPOINTED ANGLERS. Etching by V. L’Huil- 

lier. 
India proof signed by both artists. 

AT THE WAYSIDE INN. Etching by Chiquet. 
Remarque Japan proof, signed by both artists. 

TO MINE HOSTESS. | 
Japan proof after the painting, signed by Sadler. 


OTTO W. SCHNEIDER. 


Contemporary American Portrait Etcher. 


JUSTICE BLACKSTONE. . After Gainsborough. 
Half length, wig and gown. SIGNED PROOF on Japan 
paper. 


SHAKESPEARE. 


ILLUSTRATIONS: Wolsey at Leicester Abbey, Mac- 
beth, Olivia, etc., engraved after Leslie, Cope, G. H. 
Boughton, etc. Small folio. (8) 


WILLIAM SHARP. 


DIOGENES. After Salvator Rosa. Line Engraving. 
Fine impression, full margins. Folio, Lond. 1792. 
30 


SIR FRANK SHORT. 


942. GOLDSTONE. Mezzotint after Turner. 


English sea-coast, storm passing away. India proof. 
Small folio. 
* Karly work of the President of the Royal Society of 


Painter Etchers. 
243. APPLE ORCHARD, CIDER COUNTRY. 


Rare mezzotint and etching after Alfred Parsons. 
Oblong folio. Signed proof by Short on soft Japan 
paper. 


T. F. SIMON. 


Contemporary French Etcher who prints his own plates, mainly in colors. 
Among the following will be found some of the street scenes 
for which he is famous. 


244. MI CAREME A PARIS. (Mid-Lent street carnival.) 
Painter Etching in colors. 


ARTIST’S PROOF ON VELLUM PAPER, signed and 
stamped. 


245. ARABIAN GATEWAY. Painter etching in Colors. 
SIGNED ARTIST’s PROOF, ‘‘No. 62,’’ on vellum paper. 


246. MAIN STREET, TANGIERS. Painter etching in 
colors. 


SIGNED ARTIST’s PROOF, ‘‘No. 45,’’ on vellum paper. 


247. ARABIAN MARKET. Painter etching in colors. 
SIGNED ARTIST’S PROOF ON JAPAN VELLUM, No. 59. 


948. RIVA, SCHIAVONI. Painter etching in brown ink: 
No. 24 of 50 signed and stamped copies. Sm. 4to. 


249. L’ESCALADE EN HIVER (Effect of snow at dusk). 


Painter etching in colors, signed and stamped. Sm. 
Ato, 1909. 


250. OLD BRIDGE AT PRAGUE. Painter etching in brown. 
Signed artist’s proof No. 39. 1908. 


251. L’ABSIDE DE NOTRE DAME. Painter etching. 
The view made famous by Meryon. Signed proof. 


252. ROSE WINDOW, NOTRE DAME. Painter Etching. 
Signed proof. 
31 


J. R. SMITH. 


253. THE SLAVE TRADE. After Morland. 


MEZZOTINT IN THE ORIGINAL COLORING. Folio. 1814. 
* Very rare in colors, 


RICHARD SMYTHE. 


Contemporary Mezzotint Engraver. 


254. MARCHIONESS OF SALISBURY. After Lawrence. 


Full length, in a landscape, near a stone balcony rail 
over which she has thrown her red velvet cloak. 
MEZZOTINT PRINTED IN COLORS ON INDIA PAPER, SIGNED 
PROOF. 


SPORTING PRINTS. 


Henry ALKEN, Noted English horseman, trainer and engraver. 
Flourished 1816-1831. 


955. HORSE RACING. ‘‘The High Mettled Racer. The 
Foal.’’ AQUATINT IN COLORS by HENRY ALKEN and 
T. SUTHERLAND, after the drawing by Alken. Folio, 
margins. Lond., published Mch. 1, 1821, by S. & J. 

Fuller at their Sporting Gallery. | 
* THIS AND THE FOLLOWING FIVE ARE RARE ALKEN PRINTS. 


All are open letter proofs. The old frames of this and the 
following sporting prints are in poor condition. 


956. —— ‘‘The High: Mettled Racer. In Training.’’ 
* AQUATINT IN COLORS. ‘Two trainers are on foot, three 
are mounted. 
957. —— ‘‘The High Mettled Racer. The Racer.’’ 


* AQUATINT IN COLORS. A group on foot watch the Racer 
and two others sweep past. 


958. —— ‘‘The High Mettled Racer. The Hunter.’’ 
* AQUATINT IN COLORS. The Whipper-in showing the brush. 
259. —— ‘‘The High Mettled Racer. The Post Horse.”’ 


* AQUATINT IN CoLoRS. A very interesting print showing 
the Court-yard and stables of an Inn. — 
260. —— ‘‘The High Mettled Racer. The Death.’’ 


* “¢ AQUATINT IN COLORS.’’ 


261. COACHING. ‘‘The Cambridge Telegraph Starting from 
the White Horse, Fetter Lane.’’ Aquatint, Hn- 
graved by Grorce Hunt, after J. POLLARD, IN COL- 
ors. Folio, full margins. London (about 1825). 
Framed. 

* RARE COACHING SCENE. The coach crowded with passen- 
gers, drawn by four horses, just ready to move off. 


32 


pe a 


262. 


263. 


264, —— 


265. 


266. 


267. 


268. 


269. 


270. 


SPORTING PRINTS—Coxtinued. 


COACHING. “A View on the Highgate Road.”’ 
AQUATINT IN COLORS engraved by GEorGE Hunt after 
JAMES PoLLARD. folio, full margins. Very slightly 
scratched. London (about 1831). Framed. 

* RARE. The Birmingham & London mail coach, crowded 
with passengers, is passing ‘‘The Woodman’’ Inn. The 
print makes a very attractive companion piece to the preced- 
ing. 

POXSHUNTING. ‘“Bacueior’s Hauu.’’ Plate L. 
AQUATINT IN coLoRS. Small folio, full margins. 
No date. London (about 1832). 

* Rare. OPEN LETTER PROOF, with the verses 


‘*To Bachelor’s Hall we good fellows invite 
To partake of the chase that makes up our delight.’’ 


Showing the early morning start of the huntsmen. This and 
the following prints making up the set are all in open letters 
and framed. 

*“BACHELOR’S Hauu.’’ Plate II. AQuUATINT IN 
COLORS. 

‘*Dick Thickset,’’ ‘‘Bob Buxon’’ and the ‘‘Squire’’ 
on his grey leaping the fence at the brook. The 
same hunters appear in the series. 


—— ‘*BacHELor’s Hauu.’’ Plate III]. AQuaTINT IN 
COLORS. . 
* Dogs and horses. The start. 


= -bACHELOR s Hait.’’ Plate 1[V. -AQUATINT IN 
COLORS. 
* In full ery just passing from a wooded hillside. 


== ACHHLOR S HALL. - Plate V... AQUATINT IN 


COLORS. 
* The Death; the whipper-in measuring the brush. 


o—— spAcHEerorn Ss Haru.”’ Plate VI. -AQUATINT IN 
COLORS. 
‘‘The huntsmen dining.’’ One of the most interest- 
ing prints of the series, showing the English Country- 
house dining-room of the ‘‘Thirties,’’ the dress, fur- 
niture, glass and china of the period. 


= BACHELOR § Haun.’’ Plate Ui. 
AQUATINT IN coLors, the coloring differing from the 
plate in the set, No. 264. 

THE YORKSHIRE HOG. 


Aquatint in colors after Berenger. Folio with mar- 
gins. London, 1809. 


* Fine and very rare in colors. 
30 


271. 


272. 


273. 


274. 


275. 


276. 


277. 


278. 


279. 


280. 


SPORTING PRINTS—Continued. 
THE GRAND ENTRANCE TO HYDE PARK. 


Engraved by R. & C. Rosenberg after James Pollard. 
AQUATINT IN cCoLoRS. Coach, travelling carriage, 
tandem, and horseback riders are seen near the arch. 


THE MERRY BEAGLERS. By J. Harris after Hall. 


AQUATINT IN THE ORIGINAL COLORING. Fine open 
letter proof. Folio. 


PUMPKIN. Ridden by a Jockey. 


By G. T. Stubbs. Stipple engraving of a racehorse, 
rider up. London, published, 1794. Folio. 


* Fine and rare. 


THE ELEPHANT AND CASTLE ON THE BRIGH- 
TON ROAD. 


Engraved by Theodore Fielding after James Pol- 
lard. AQUATINT IN coLoRS. Large folio. 


*The Brighton-London stage, and numerous travelling 
coaches and other vehicles pass the Inn. 


CHAMPION. Mezzotint by Sartoriae 


Lond.: Laurie & Whittle, 1802. Sm. folio, fine origi- 
nal impression. i 


LURCHER. Mezzotint with text. 
Lond.: Laurie & Whittle, 1795. Sm. folio, fine origi- 
nal impression. 


SKYSCRAPER. Mezzotint with text. 
Lond.: Laurie & Whittle, 1795. Companion to the 
preceding. 


RACH HORSE AND JOCKEY. Mezzotint. 
India proof before all letters by Henry Stull, 1890. 
Signed. Near the ‘‘C. I. J. C.”’ clubhouse. Black 
horse, four white feet and white nose. 


TROTTING CRACKS OF PHILADELPHIA RE- 
TURNING FROM THE RACE AT POINT 
BREEZE. | 


Lithograph in colors, 1870, with key shows 18 fast 
horses and view of Turner’ s Hotel. Folio. 


GRAND STAND, JEROME PARK, N. Y. 


View of the stand and horses ready for the start. 
Lithograph in colors by T. Kelly, N. Y. 1868. 


34 


nee 


294, 


SPORTING PRINTS—Coxtinued, 
THE CELEBRATED AMERICAN: TROTTING 
HORSE, TOM THUMB. 
Aquatint in colors. Engraved by G. & C. Hunt. 
Painted by E. F. Lambert. Folio. Rare and Fine. 


. COMING IN FOR THE DERBY. 


AQUATINT IN COLORS By C. Hunt after F. C. TURNER. 
1848. The rare original impression. Large folio. 


. GRAND STAND, ASCOT: GOLD CUP DAY 1839. 


AQUATINT IN coLoRS BY C. Hunt after J. F. HERRING. 
1849. The rare original impression. Large folio. 


. MONDAY AT TATTERSALL’S. In Colors after Isaac 


Cullen. Oblong folio. 1893. 


. BLOODING THE YOUNGSTER. In colors after M. D. 


Hardy. Oblong folio. 1890. 


. COMBAT OF STAGS. Etching by Lancon. 


Signed remarque proof. Folio. 


. CHLEBRATED HORSES. By Hatch & Co., N. Y. 


Lancet, Prince John, Brown Dick, ete. Group with 
key. VERY FINE COLORED LITHOGRAPH. Cracked but 
mounted on cloth. Oblong folio. 1863. 


. THE REPOSITORY OR TATTER’D-SALE. Etching. | 


Caricature. Pub. by Mary Darly, 1777. 


. JOHNNY DAY, PEDESTRIAN WONDER. 


COLORED LITHOGRAPH by Newbold. 1866. 


. IROQUOIS. Ridden by Archer. 


The Property of P. Lorillard. In couors by G. Rec 
1881. Folio. 


. GEORGE WILSON THE PEDESTRIAN. Etching. 


In colors by Williams. Lond., 1815. 


. SUMMER. After Henry Alken. 


Heavy going and a full coach. IN couors. 


. DOWN HILL; UP HILL; TURNPIKE GATE. 


Set of three color prints by C. R. Stock after Shayer, 
printed on one sheet. Open letter proof. Oblong 
folio. 


SHOOTING. GAME FOUND. 
Plate IJ. Aquatint by Himeley after Wolstenholme. 
Small folio, margins (tear). 


ox 
v0 


296. 


oo bs 


298. 


299. 


300. 


301. 


302. 


303. 


304. 


305 


SPORTING PRINTS—Continued 


. THE MEET OF THE VINE HOUNDS. 


Engraved by W. H. Simmons after H. Calvert. 
Large folio. Lond. 1844. 


THE BEDALE HUNT. 
By the same after Martin. Large folio. Lond. 1842. 


A DEXTEROUS WHIP. Caricature by Thos. Worth- 


CoLORED LITHOGRAPH by Currier & Ives, 1876. 
* Caricature of Gen. J. A. Logan? 


JUST IN TIME! JUST TOO LATE! 
Two colored lithographs. Small 4to. (2) 


[TROTTING.|] By L. Maurer. 
COLORED LITHOGRAPH by Currier & Ives, 152 Nassau 
St. Folio. 


* Representing a famous trotter doing the mile in 2.19%. 


FRENCH CARICATURES. ‘“‘Un Anglais d’Aujour 
d’hui’’ and ‘‘Les Adieux au-Palais Royal.’’ ErcH- 
ING IN coLORS (by Garnerey?) Paris, chez Martinet. 
Small 4to. (2) | 


RAT CATCHING, Old American engraving by Jd. 
Brown after Landseer; THe LADY AND SPANIELS, 
by. Davey; and three others. (5) 


THE VELOCIPEDE. Lithograph in colors. 
-By Currier & Ives, New York, 1869. 


WATER-COLOR DRAWINGS. A Pair. 


‘‘Going to the Inn.’’ ‘‘Returning from the Inn.’’ 
By R. Rosenbaum. Circa 1880. Oblong folio. 


* Coaching scenes. 


WATER-COLOR DRAWING. ‘‘Orders.’’ 


Golfer giving directions to the groom on the Dog- 
eart. By R. Rosenbaum. Cirea 1880. Oblong folio. 


F. G. STEVENSON. 


English Engraver in mezzotint. 


MADONNA OF THE CHAIR. After Raphael. 
ARTIST’S SIGNED PROOF PRINTED IN COLORS. 
36 


2 : ° 
lsh ia E 
ee nT ee ee ee a a“ - 


306. 


307. 


308. 


309. 


310. 


dll. 


312. 


315. 


314. 


315. 


316. 


317. 


318. 


WILLIAM STRANG. 
THE PRODIGAL SON. Etching, 1882. 
Proof on Japan paper. Small 4to. 


WOMEN LIFTING POTATOES. Etching. 
Proof on Japan paper. Small 4to. 


SIR L. ALMA TADEMA. 
THE KISS. 


Fine reproduction of the painting, SIGNED BY THE 
ARTIST. Folio, framed. 


JAMES J. TISSOT. 


THE GARDEN SEAT. Painter etching. 


Signed proof and with Tissot’s stamp. Oblong folio, 
on India paper. Scarce. 
SPRING MORNING. Painter etching. 
Signed proof and with Tissot’s stamp. 
ON THE STEAMER CALCUTTA. Painter etching. 
Signed proof and with Tissot’s stamp. 
WINTER WALK. Early painter etching. 
Signed proof and with Tissot’s stamp. Scarce. 
HOW HAPPY I COULD BE WITH EITHER! 
Signed and stamped painter etching. 
A SUMMER EVENING. | 
Signed and stamped painter etching. 
BY THE WINDOW. 
Signed and stamped painter etching. 
CHILDREN’S PARTY. Early proof. 
Signed and stamped painter etching. 
THE WIDOWER. Scarce. 
Signed and stamped painter etching. 


VAUGHAN TROWBRIDGE. 
Contemporary Etcher. 


CATHEDRAL AT QUIMPER, . FINISTERRE, 
FRANCE. Painter etching. 
Signed artist’s proof printed in colors. No. 23 of 
58 issued in 1909. 
on 


319. 


320. 


321, 


322. 


323, 


o24, 


320. 


326. 


P. VALENTIN. 


WATER-COLOR DRAWING: ‘‘WAITING.”’ 


Cavalier in the time of Louis XIV. Signed and 
dated 1879. Folio, gilt frame. 


A. VAN DYCK (Portraits engraved after). 


THOMAS HOWARD COUNT OF ARUNDEL, by Hol- 
lar; C. Vander Geest and T. Rombouts by P. Pontius, 
etc. Sm. 4to. (6) 3 


EMILE VAN MARCKE. 


FIDELE; PHANN. (Dogs.) 


Etchings ‘by L. Le Couteaux, and signed artist’s 
proofs on Japan vellum. Folio. (2) 


ADRIAN VAN OSTADE: 1610-1685. 


THE QUARREL (‘‘La Rixe’’), after-Ostade. 1653. 


Engraved by J. Suyderhof. Third state. Folio. 
Corners repaired. 


HENRI VION. 


THE LOVE LETTER. After Meissonier. 


Etching. SIGNED PROOF BY THE ETCHER ON JAPAN 
PAPER. Oblong folio, unframed. 


WILLIAM WARD. 


THE FARMER’S STABLE. After G. Morland. 
Biles BG 


Mezzotint. Folio, with margins. London, 1792. 


* PRINTED IN COLORS: MAGNIFICENT IMPRESSION OF THIS 


FAMOUS INTERIOR OF A STABLE. 
WASP, CHILD AND BILLY. After H. B. Chalon. 
F, 314. 


Mezzotint of three prize bull-dogs. Folo. Lond. 
1809. 


* PINE IMPRESSION. VERY SCARCE. 
POINTERS. After T. N. Sartorius. 


Mezzotint printed in dark brown. Folio, margins. 
Lond. 1806. 


* Fine open letter proof. 
38 


327, 
328. 


329. 


330. 


331. 


332. 


339. 


334. 


330. 


WATER COLOR PAINTINGS. 


MIST ON THE RIVER. 
Original Japanese water-color by FuKawa Basks, 
Oblong 4to. Framed. 

FISHING BOATS NEAR VENICE. 
Original water-color by DELECOUILLERIE. Guilt frame. 
Folio. 

CARNATIONS. 
Water-color by M. Manley. 4to. Framed. 


LANDSCAPE. By M. Manley. 
Narcissus. Unsigned water-color. 
Both framed. (2) 


HERMAN A. WEBSTER. 


MAISON Vz. MELINE. 
Painter Etching. SIGNED PROOF. Framed. 


JOHN WHESSELL. 


RURAL INNOCENCE. After Bourgeois. 
Stipple engraving, large folio, open letter proof. 
Lond. 1806. 


SYDNEY E. WILSON. 
Contemporary English Engraver in Mezzotint. 
The first Wilson prints offered by auction this season. 


LADY HALLETT. After Gainsborough. 


Half length, large hat, in a landscape. SIGNED ArR- 
TIST’S PROOF IN coLoRS. India proof. 


MRS. SHERIDAN. After Gainsborough. 


Half length, in a landscape. One of the beautiful 
Linley sisters. SIGNED ARTIST’S PROOF PRINTED IN 
cotors. Early impression before the BS were 
cleaned, printed on India paper. 


MRS. BELL. After Sir Henry Raeburn. 
Half length, seated in a landscape, white gown with 
black lace. SIGNED ARTIST’S PROOF PRINTED IN COLORS 
ON INDIA PAPER, with uncleaned margins. Numbered 
‘*67,’’ apparently by Wilson. 
39 


SYDNEY E. WILSON—Continued. 


336. NATURE (EMMA AND LAURA CALMADY). After 
Sir Thomas Lawrenee. . 


Two little girls in a circular frame. Well-known 
and one of the most attractive paintings of children. 
SIGNED ARTIST’S PROOF PRINTED IN COLORS ON INDIA 
PAPER. 

337. THE LADIES WALDEGRAVE. After Reynolds. 


Three sisters seated at a work-table, with embroidery, 
book, and other employment, gowned in white mus- 
lin, an old rose curtain drawn aside revealing a 
landscape. HNGRAVED AND PRINTED IN COLORS. 
SIGNED ARTIST’S PROOF. Folio. 


ANDERS ZORN. 
Contemporary Swedish Painter and Etcher. 
338. A LETTER. Painter etching in 1918. 
SIGNED PROOF PRINTED IN BROWN, untrimmed mar- 
gins. A peasant girl, her head wrapped in a shawl, 
seen. at half length. Very fine and characteristic 
print. 
339. BERSECK. Painter etching, 1914. — 
SIGNED PROOF. A woman dressing. 
340. PRAYER. Painter etching. 
Lightly printed. A womanin church. SIGNED PROOF. 
341. THREE SISTERS. Painter etching, 1913. 
SIGNED PROOF ON VAN GELDER PAPER, untrimmed | 
_ ‘margins.. | 
342. THE FENCE. Nude. Painter etching, 1913. 


SIGNED PROOF ON VAN GELDER PAPER, untrimmed 
margins. 


40 


Red Cross Sale 


Prints, Books, Oil and Water Color Paintings, Pen and Wash 
Drawings, Bronzes and Porcelains, and a new Pianola 
Piano Contributed by Artists and Others to the 


RED CROSS COMMITTEE 
(For the Sale for Belgian Relief see Lots 445-470.) 


NOTE. 


The following articles (with the exception of Lots 445-470) were 
donated to the Rep Cross Bazaar, held in the New Grand Central Palace 
in October last, under the auspices of the WOMEN’S COMMITTEE OF ONE 
HUNDRED, the proceeds to be devoted to the American Red Cross European 
War Relief Fund. They were selected by the Committee from the unsold 
articles, as possessing sufficient merit to warrant a special sale under 
more favorable conditions and are now so offered. All costs of the sale 
of every description will be borne by the Anderson Galleries, and the 
entire gross proceeds of the Sale will be paid-to the Committee. 

Lots 445 to 470 inclusive will be sold under the same conditions and the 
entire gross proceeds will be paid to the Museum of French Art for the 
benefit of the Women and Children of Belgium and France made homeless 
by the War. 


THIRD SESSION. 
Thursday Evening, February 18, 1915, at 8:15 o’clock 
LOTS 343-521. 


EDWIN A. ABBEY. 


343. ‘“FAIR IS MY LOVE.’’ After the painting. 
India Proof signed by Abbey. Folio. 


ALEX. ANSTED. 
344, SPRING FLOODS. Etching, signed proof. 


ADOLPHE APPIAN. 
345. A SUMMER DAY. India proof etching. 
346. WINE PRESS. India proof etching. 
347. A SOUVENIR (Windmill). India proof. 
348. THE FISHERMEN... Etching. 
349. THE VILLAGE, CORNING. Twilight. Etching. 
41 


300. 
351. 


302. 


303. 
304. 
309. 
306. 


oot. 


308. 


309. 


360. 


OTTO H. BACHER. 
REGENSBURG. Signed vellum paper proof. 


THE BRIDGE: SCHLEISSHEIM. Signed vellum 
paper proof. 


‘VENICE: GRAND CANAL, ENTRANCE. Etching 


in brown. 
THE RIALTO. Etching in brown. 
CASA D’ORO, VENICE. Vellum paper proof. 
CANAL, WORTH. Etching. 
ROYAL GARDENS: SCHLEISSHEIM. Signed vellum 
paper proof. 
CH. DE BILLY. 


THE HAYMAKER. Etching after Adan. 
Signed remarque proof on parchment. 


FELIX BRACQUEMOND. 
THE MAN WITH THE HOE. Etching after Millet. 


A. BRUNET-DEBAINES. | 
THE MILL WHEEL. Etching. Signed remarque proof. 


FELIX BUHOT. 


THE STORM AT TROUVILLE. Etching, untrimmed 
margins. 


WALTER W. BURGESS. 


. WINCHESTER CATHEDRAL. Etching on soft Japan 


paper. 


_THE GATE OF HONOR, CAMBRIDGE. Etching, 


signed proof. 


F. S. CHURCH. 


. “TO THEE.’’ Cupid and Rose. Signed proof etching. 
364. 


THE HARD HEART: Cupid and grindstone. Signed 
proof etching. 
AQ 


var 


372. 


373. 


374, 


379. 


376. 


377. 


} 
CLAUDE GELEE DE LORRAIN. 


5. LIBER VERITATIS. No. 117. Mezzotint by R. Earlom. 


Landscape with peasants, cattle, and buildings. First 
PROOF STATE, printed in warm bistre. Pub. 1775. 
* The following five lots are from the same series. 


. LANDSCAPE WITH RIVER AND SHIPPING. No. 


185. 


. CATTLE AND HERDER CROSSING A_ FORD. 


. No. 189. 


. CLASSICAL LANDSCAPE WITH FIGURES AND 


CATTLE. No. 190. 


_-MERCURY AND ARGUS IN A LANDSCAPE. 


No. 192. 


. THE RESURRECTION. No. 194. 


LEON COUTIL: After Millet. 


THE END OF THE DAY. Etching, signed proof. 
Mounted. 


G. H. EVERY: After Romney. 


LADY HAMILTON AS EUPHROSYNE. Head. Signed 
mezzotint. 


HENRY FARRER. 


A FISHING STATION. Etching on satin. Signed 
proof. 


AMEDEE FAURE. After Rembrandt. 
HEAD OF A MAN IN FELT HAT. Etching. Proof. 


DEWITT H. FESSENDEN. 


S. PAOLO, Rome. Etching on Japan paper. Signed 
proof. 


S. FRANCIS OF ASSISI. Etching on Japan paper. 
Signed proof. 


HENRY CHARLES FOX. 


WARGRAVE ON THAMES. Etching, signed, remarque 
proof. 
43 


381. 


382. 


383. 


384, 


385. 


386. 
387. 
388. 


389. 


390. 


391. 
392. 
393. 
394. 
395. 


JOHN FULLWOOD. 


. THE HEAD OF THE LOCK. Etching, signed proof, 


India paper. 


. THE SWAN HOTEL. Thames Ditton. Etching, signed 


DROOL 


. THE POOL. Etching, signed proof. 


EUGENE GAUJEAN: After Marks. 
A GOOD STORY. Proof etching signed by both. 


LUCIEN GAUTIER. 


VENICE: GRAND CANAL. Signed vellum paper 
proof. 


ARRIVAL AT THE FIELD. After Jacque. 
Signed proof etching on soft vellum paper. 


THE COTTAGE. After Corot. 
Signed proof etching on soft vellum paper. 
THE CANAL. After Corot. Signed proof. 


CHARLES STORM VAN ’S GRAVESANDE. 
ZAANDVOORT. Signed parchment proof etching. 
BANKS OF THE MEUSE. Signed India proof. 
NEAR KATWYK. Signed proof before plate was cut. 


A. GRAVIER: After Turner. 
FIGHTING TEMERAIRE. Signed remarque proof. 


WILL HENDERSON. After Lawrence. 


MISS FITZGERALD. Printed in colors. 
Signed artist’s proof on India paper. 


CHARLES JACQUE. 
PEASANTS’ COTTAGES. Etching, 1879. 
CATTLE TENDED BY A WOMAN. India proof. 
WOMAN DRIVING PIGS IN A PEN. China proof. 
CAVALIER BEFORE AN INN. China proof. No. 7. 
SUMMER (L’ETE). China proof printed by Sazarin. 
44 


396. 
397. 
398. 
OUg, 
400. 
401. 


402. 


403. 


404. 


405. 


406. 
407. 


408. 


409. 
410. 


411. 
412. 


MAXIME LALANNE. 
HOUSE OF BELOT. Etching, India proof. 
A CUSSET. Proof etching from Lalanne’s Collection. 
NEAR HOULGATE (CALVADOS). Etching. 
BRIDGE OF ARTS, PARIS. Moonlight. Etching. 
ENVIRONS OF PARIS. Fontainebleau. Etching. 
ACACIA TREES. Etching. 


G. DE LATENAY. 
LOW TIDE. Etching, No. 13 of 50 signed proofs. 


P. LE RAT: After Meissonier. 
TURNING REIN. Etching. 


THOMAS R. MANLEY. 
THE MILL POND. Signed proof on Japan vellum. 


J. D. MILLER: After F. Dicksee. 
SYLVIA. Mezzotint on India paper. 


C. M. NICHOLS. 
EVENING. Drypoint, signed proof. 
THE REEDS. Drypoint, signed proof. 


OSGOOD. 
QUAI DES ORFEVRES, PARIS. Etching, signed 
proof. 
FREDERICK PAULING. 
LINCOLN AND TAD. Etching, signed proof. 
SKYSCRAPERS. Etching, signed proof. 


JOSEPH PENNELL. 
ST BARTHOLOMEW’S'GATE. Etching, signed proof. 


HOLE IN THE GROUND. Etching, signed proof. 
| 45 


413. 
414, 


415. 
416. 


417. 
418. 
419. 


420. 


421. 
422. 


423. 


424. 
425. 
426. 
427. 
428. 
429. 
430. 


431. 


432. 


JOSEPH PENNELL—Conxtinued. 
RICHMOND PARK. Printed and signed by Pennell. 


CRANES AT KENSINGTON. Signed (also by Gould- 
ing). 
CRYSTAL PALACE: FIRST STATE. Signed proof. 


FOUNDER’S TOMB, ST. BARTHOLOMEW. Printed 
and signed by Pennell. | 


PENNELL DRAWINGS IN PEN-AND-INK. 
HONFLEUR; THE OLD GATEWAY. Signed. 

THE ABBEY AT GRAILDE. Signed. 

ABBEY OF ST. MARTIN, BOSHEVILLE. Signed. 


LAWRENCE B. PHILLIPS. 
COMING HOME (Dutch landscape). Signed proof. 


G. B. PIRANESI: Italian etcher. 
BASILICA OF THE HOLY CROSS. 
QUIRINAL, ROME. Fine impression. 


CHARLES A. PLATT. 
A CORNER OF PORTLAND. Etching, 1882. 


PETER J. PLATT. 
RIVERDALE, NEW YORK. Etching, 1913, signed. 
VAN CORTLANDT PARK. Winter. Signed. 1910. 
LANDSCAPE AND STREAM. Signed proof. 1908. 
VAN CORTLANDT PARK. Winter. Signed. 1912. 
TWILIGHT LANDSCAPE. Signed proof. 
MOONRISE. 1913. Signed proof. 

WOODS IN WINTER WITH STREAM. Signed. 


RICHARD SMYTHE. 


COUNTESS OF HARRINGTON. Signed proof. 
Mezzotint printed in colors. 


E. STODART: After Cosway. 


LAXTITIA. Oval stipple in colors. 1892. 
46 : 


433. 


434. 


435. 


436, 


437. 
438. 
439. 


440, 
441, 
442. 


443. 


444, 


E. VAN MUYDEN. 


LION AND MATE. Signed proof with remarque margin. 
First proof, first state, only four issued. 


LIONESS AND CUBS. Signed remarque proof. 
Second proof, first state, only four issued. 


FRANCIS S. WALKER: After Gainsborough. 


MRS. SIDDONS. Signed proof mezzotint. 
Printed in colors. No. 49 on India paper. 


CHARLES WALTNER: Aftes F. Dicksee. 
HARMONY. Signed remarque proof. Etching. 


CADWALLADER WASHBURN. 
DOGE’S PALACE. Signed proof etching. 
ON THE GRAND CANAL. Signed proof. 
CASA D’ORO, VENICE. Signed proof. 


FRAMED PRINTS. 


M. J. BURNS and H. P. SHARE. 


FISHING BOATS AT SEA. Etching signed by both. 
Narrow folio, framed. 


CHROMO PRINT. 
WINTER SCENE. 
Height 21 inches; width 30 inches. Framed. 


E, DORIES (After). 


FEEDING THE SWANS. Photogravure in colors. 
Framed. 


SIR FRANK SHORT. 
NUTBOURNE MILL, BOSHAM. Signed proof. Framed. 


E. VAN BLAAS (After). 


FLOWER GIRL. Photogravure in colors. Framed. 
47 


Carly Belgtan Wiews 


To be sold for the Benefit of Women and Children of France 


445, 


446. 
447. 
448. 
449, 
450. 
451. 
452. 
453. 
454. 


459. 
456. 


457. 
458. 
459. 
460. 
461. 


and Belgium made homeless by War 


Sold under the auspices of the Museum of French Art 


ANTWERP. 
Early Eighteenth Century Engraving. Narrow 
oblong folio. 

* This and the following views are all early and interesting 
views of towns and cities now in the field of operations of 
the European war. Most of them are narrow oblong folio 
in size, a few are small quarto and are so described. Most 
of them have a key or a short letter-press description in 
German. 


LOWEN oder LOUVEIN. (LOUVAIN.) 
VERDUN. (France.) 

BRVGE. (Bruges.) 

NAMUR. 4to. 

CHARLE-ROY. (Charleroi.) 4to. 
LEMBERG. (Silesia.) 4to. Colored. 
DINANT. ; 

PROSP. DER STATT NAMUR. 


METZ. 
With the engraver’s name, G. Bodenehr. 


LILLE. 


LOVEN. (Louvain.) 
A different view from the previous one. 


ARRAS. 
BRUSSEL. 
OSTENDE. 
AELST. 


NAMUR STADT UND SCHLOSS. 


Showing the whole of the fortifications, and the siege 
works of William ITI. 


48 


462. 
463. 
464. 
465. 
466. 


467. 
468. 


469. 


470. 


471. 


472. 


473. 


474. 


475. 


476. 
477. 


EARLY BELGIAN VIEWS—Coxiinued. 


NAMUR,. Auff der seiten von Braband. Narrow 12mo. 
NAMUR. Auf der Anderen seiten. Narrow 12mo. 
VILLE-FRANCHE. (France.) Narrow 12mo. 
NAMUR. Von der Maas seiten nach Braband anzuichen. 


BONEY. Caricature, issued by the Grolier Club on an 
invitation card. Framed. 


THE ANGLER. Small etching by H. W. Bicknell. 

UNE COQUETTE: With two other small colored French 
etchings. (3) 

BOOK-PLATES. Mr. Daymar, old 18th century 
armorial; Earl of Shannon; ete. (5) 

CATALOGUE of the Loan Exhibition of the War at the 
Seribner Building, Nov., 1914. Design by Tiffany on 
cover in colors. 


Paintings, Books and Objects of Art 
(Continuation of the Sale for the Red Cross Committee) 


BRONZE MEDALLION OF ROBERT LOUIS STEV- 
ENSON. By Sarnt-GAUDENS. 

Signed with inscription and dedication. Diameter 
1134 inches. Framed in walnut. 


WEDGWOOD PITCHER. 
Decorated with hop leaves and blossoms in brown 
and yellow. Height 15 inches 


BRONZE FIGURE: THE YOUNG VIOLINIST. 
Height 33 inches. 


CIRCULAR FAIENCE PLAQUE: PUCK. 

With figures and flowers in high relief finished in 

gold and silver. Diameter 25 inches. 
WAX DOLL. 

Dressed about 1836. Height 19 inches. 
EMBROIDERED YOKE. | Width 16 inches. 


BLUE AND WHITE HOMESPUN COVERLET. 
49 


478. 


479. 


480. 


481, 


482. 


483. 


484, 


485. 


PAINTINGS, BOOKS AND OBJECTS OF ART—Continued. 
JAPANESE PORCELAIN VASE. 


With fluted base, the neck decorated with dragons 
in relief, the whole coated with a-peacock blue glaze, 
and mounted in a wrought-iron stand of scrolls and 
leaves. Height 45 inches. 


SHVRES PORCELAIN REVOLVING VASE. 


With decoration after Bouguereau by Grisard and 
scroll handles of gilt bronze. Height 26 inches. 


NEW STROUD PIANOLA PIANO. 
Mahogany Case and Bench. 


EARLY AMERICAN JUVENILE. Nine honor ecards, 
each containing a poem engraved in copper-plate 
with vignette illustration in the original coloring, 
several endorsed ‘‘J. M. Hoppin’s card 1825.”’ 


* «<The Bee,’’ ‘‘The Orphan,’’ ‘‘Spring,’? and other very 
quaint and interesting verses. In the original hand-woven 
bag. %) 


JUVENILE MINIATURE BOOKS. ‘‘Dame Trot and - 
her Cat,’’ ‘‘Golden Toy,’’ ‘‘King and Cobbler,’’ and 
‘“Whittington and his Cat.’’ Woodcuts im each. 
32mo, in the original wrappers, fine condition. Glas- 
gow, circa 1825. 

* << Brow bender. Hye Peeper. 


Nose Dropper. Mouth Eater. 
Chin Chopper.’’ 


and other interesting pieces, now nearly forgotten, including 
the famous ‘‘Consider, Cow, consider.’’ 


HOLMES (0. W.). Elsie Venner. First EpIrTIon. 
2 vols. sm. 8vo, original cloth. . Boston, 1861 
* <¢Tk Marvel’s (Donald G. Mitchell) copy with his autograph, 


WEIR (HARRISON). Beasts and Birds. Verses by 
Jas. Bishop. Illustrations (colored) by Harrison 
Weir. Sm. 4to, wrappers, mounted on cloth. Lond. 
(1861). . 


STANLEY M. ARTHURS. 


Contemporary American Illustrator. 


AT THE BAR. 
Illustration in oil colors, signed. Height 25 inches; 
width 18 inches. Framed. 


50 


ww... 7 
be ld Sa 
hb $e pw 


486. 


487. 


488. 


489. 


490. 


491. 


492. 


V. T. BENDA... 
Contemporary American Illustrator. 
THE FIRST BORN. 


Crayon Drawing, signed. Height 23 inches; width 
14 inches. Framed. 


V. V. BONFIELD. 


WINTER IN BURLINGTON COUNTY, N. Y. 


Canvas, signed. Height 16 inches; width 24 inches. 
Framed. 


HOPE GORHAM CLARK. 
Contemporary American Painter. 
STUDY OF AN AMERICAN ELK. 
Panel, signed. Height 5 inches; width 8 inches. 
Framed. 


FRED S. COZZENS. 
Contemporary American Painter. 
YACHTS AT ANCHOR. 
Water-Color, signed. Height 21 inches; width 16 
inches. Framed. 


MARTIN DROLLING: 1752-1827. 


HEAD OF AN OLD MAN LISTENING. 
Canvas. Height 24 inches; width 20 inches. Framed. 


HENRIETTA FARGEL. 


VIEW IN SIENA: GROUP OF PINES. 


Two Water-Colors, signed. Height 10 inches; width 
4 inches. Unframed. 


CHARLES FORBES. 
Contemporary American Painter, 
STREET SCENE IN A FRENCH TOWN. 


Water-Color, signed. Height 15 inches; width 10 
inches. Framed. 


51 


493. 


496. 


497. 


498. 


499. 


500. 


501. 


JAMES MONTGOMERY FLAGG. 
Contemporary American Illustrator. 
AT THE DINNER TABLE. 


Pen-and-Ink Drawing, signed. Height 13 inches; 
width 20 inches. Framed. 


. A MAN AND A MAID. 


Crayon Drawing, signed. Height 1014 inches; width 
13 inches. Framed. 


CHESTER GAR. 


Contemporary American Illustrator. 


5. SCHOOL GIRLS. 


Pen-and-Ink Drawing, signed. Height 9 inches; 
width 14 inches. 


C. ALLAN GILBERT. 
Contemporary American Tllustrator. 
A DEBUTANTE. 
Wash Drawing, signed. Height 19 inches ; widen 19 
inches. Framed. 
AFTERNOON TEA. 


Wash Drawing, signed. Height 1614 inches; width | 
1914 inches. Framed. 


LIONEL GOTTSCHALK. 


FOUR HARBOR AND MARINE VIEWS. 
Water-Colors, signed. Framed. 


KATE GREENAWAY. 
English Illustrator. 


A CHILD AT SCHOOL. 
Water-Color. Height 714 inches; width 514 inches. _ 
Unframed. pee 


PHILIP GILBERT HAMERTON. 
English Etcher, 1834-1894. 
POPLARS. | | 
' Water-Color. Height 5 inches; width 8 inches. Un- 
framed. 
THE COTTAGE. 
Water-Color.. Height 7 inches; width 814 inches. 
(Unframed. ) 


D2 


502. 


503. 


504. 


505. 


506. 


507. 


508. 


EDITH HAWORTH. 
Contemporary American Painter. 
OLD STREET IN AIX-LES-BAINS. 


Academy board, signed. Height 6 inches; width 4 
inches. 


H. D. JACOBS. 
Contemporary American Painter. 
IN SPRING TIME. 


Panel, signed. Height 11 inches; width 1414 inches. 
Framed. 


CL}OSE: 
THE BROOK. . 
Water-Color, signed. Height 15 inches; width 1014 
inches. Unframed. 


ALBERT LYNCH. 
Contemporary French Artist. 
ON THE HIGHWAY. 


Water-Color, signed. Height 614 inches; width 11 
inches. Unframed. 


M. LOUISE McLAUGHLIN. 
American Painter. , 
WINTER SUNSET. 


Water-Color, signed. Height 914 inches; width 1214 
inches. Unframed. 


STANLEY MIDDLETON. 
Contemporary American Painter. 
THE COQUETTE. 


Canvas, signed. Height 25 inches; width 21 inches. 
Framed. 


P. J. MONAHAN. 
American Illustrator. 
THE FIRST BORN. 


Black and White Oil Painting, signed. Height 141% 
inches; width 20 inches. Unframed. 


583 


509. 


510. 


511. 


512. 


614. 


d15. 


O16. 


WALLACE MORGAN 
Contemporary American Illustrator. 
ON SHIP BOARD. 


Pen-and-Ink Drawing, signed. Height 11 inches; 
width 19 inches. Framed. 


NEW ARRIVALS AT A HOTEL. 


Pen-and-Ink Drawing, signed. Height 16 inches; 
width 20 inches. Framed. 


W. J. MORBY. 


IN FULL CRY. 
Water-Color, signed. Height 15 inches; width 20 
inches. 


RHODA HOLMES NICHOLLS. 


Contemporary American Painter. 


TULIPS. Water-Color, signed. Height 1514 inches; 
width 10 inches. Framed. 


P. PALIANTIL. 


. SPRING TIME. 


Water-Color, signed. Height 814 inches; width 13 
inches. 


A. PHIMISTER PROCTOR. 


STUDY OF ROCKS IN WINTER. 


Pastel drawing, signed. Height 614 inches; width 
10 inches. Framed. 


EDWARD READ. 


THE HOUSE ON THE MARSH. 


Water-Color, signed. Height ioe inches; width 21 
inches. Unframed. 


J. C. SAUNDERS, 
Contemporary American Painter. 
LANDSCAPE AT SUNSET. 


Canvas, signed. Height 12 inches; width 16 inches. 
Framed. 
54 


517 


518 


519 


520 


521 


ANNA M. UPJOHN. 


Contemporary American Painter. 


. PEASANTS RETURNING FROM THE FIELDS AT 


SUNSE 
Canvas, 


pbs 
signed. Height 30 inches; width 34 inches. 


Unframed. 


. PEASANT 


Canvas, 
Unfram 


GIRL IN THE FIELDS. | 
signed. Height 30 inches; width 26 inches. 
ed. 


. THE SHRIMP GIRL. (After Hogarth.) 


Canvas. 
framed. 


Height 25 inches; width 20 inches. Un- 


V. VANTEYNE. 


. THE MARSH. | 
Water-Color, signed. Height 11144 inches; width 
171% inches. Unframed. 


H. WEGNER. 
. A COURT YARD. 
Water-Color, signed. Height 8 inches; width 614 
inches. Unframed. 


PRO @* 


Benes 


SHER OH RET SEBPOEN FAVS DE PMH AGF TE KHESOKYNAST HHP He EK BEFHSSASHRAT HEARN FAMAARHE COAT HERO EO HOV SH SHEE HSLAB HAE HERS FSEE A OHS MIF OH ERE HE HRM Pe THEM DEH* 


To Metropolitan Art Association, 
Madison Avenue at Fortieth Street, New York. 


Please buy for me at your Auction Sale No. a is 2 
the following lots at not exceeding the prices named, which are so much per Lot. 
These bids are made subject to the Conditions of Sale printed in the Catalogue of this 


sale. 
EDL ie 8 DAE DES a ne rv gn 
Oe LSS, CIES SC aR RU ea ag 
Shipping i i 
Lot First Word of Title Bid Lot First Word of Title Bid 


———— es | 


| nae: 


Make your bids on this sheet for one sale only, with full name and address. 


Terms Cash. References or cash deposit required with orders from strangers. 


a 
“4 


LIBRARY 


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